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THE POETRY OF HAN WO (844-923).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	THE POETRY OF HAN WO (844-923)./
作者:	UPTON, BETH ANN.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1980,
面頁冊數:	240 p.
附註:	Source: Dissertations Abstracts International, Volume: 41-07, Section: A.
Contained By:	Dissertations Abstracts International41-07A.
標題:	Asian literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8029617
ISBN:	9798661767509

THE POETRY OF HAN WO (844-923).
UPTON, BETH ANN.

THE POETRY OF HAN WO (844-923). - Ann Arbor : ProQuest Dissertations & Theses, 1980 - 240 p.

Source: Dissertations Abstracts International, Volume: 41-07, Section: A.

Thesis (Ph.D.)--University of California, Berkeley, 1980.

This item must not be sold to any third party vendors.

This study presents, in Part I, a look at the poet's history and the critical reaction to his life and work, and in Part II, a detailed examination of 33 of his poems which are meant to be a representative sampling. In Part I, it is shown how the official biographical information on Han Wo fits precisely with the traditional critical opinions of Han Wo's life and work, and how the several attitudes of traditional critics of past and present are rarely based upon careful readings of the individual poems themselves and an examination of their language. The controversy over the authenticity of the Fragrance Vanity Collection and individual poems is often tied to traditional critical moral judgement of Han's character, although a few modern critics have emphasized textual examination. Part II is an examination of individual poems. Therefore, each poem is presented in Chinese graphs, and in a reconstruction of T'ang Chinese (Schafer's orthographic version of Karlgren's reconstruction), as well as an English rendition which attempts to preserve the imagery of the original. Each poem is followed by Notes on imagery, obscure terms, allusions, etc., and a Commentary on the sense of the poem and critical evaluation. Sub-divisions within Part II are not mean to force poems into neat topical categories, but to examine five topics and techniques favored by Han Wo. In Part II, Section A, the emphasis is upon Han's use of many phonetic features, including rhyme and rhyme-echoes, repeated words and phrases, assonances, etc. The reader is encouraged to take note of the sound of each poem as it is represented in reconstruction, and to look for phonetic emphasis whenever it occurs in the poems under examination in subsequent sections. In Section B, I suggest correspondences between the medieval Western courtly love-lyric and the conventional falling-flowers lu-shih of T'ang times. This comparison is offered chiefly to emphasize the role of the persona or speaker in Chinese poetry, and to explore the implications of a didactic reading of such poems: the reader responds to the one-sided, exaggerated complaints of the persona with a fuller, more complex understanding of the situation presented in the poem. These poems, which are sometimes considered merely trite imitations of a type begun in the early T'ang, may be presenting themes which the reader is expected to ponder carefully in order to answer the speaker's complaint. Of course, such poems must also be considered individually for artistic integrity. Sections C, D, and E, each contain poems grouped around a topic. These topics--poetry of the scholar-official, love poetry, and celebrations of the moment--are topics only in the sense that they allow for presentation of a certain persona or viewpoint. In fact, I am at pains to point out the range of tone, diction, and form in each section. The section on love poetry includes several tz'u, or songs. Section E discusses poetry in which descriptions of natural scenery and the setting of a mood are emphasized, while the speaker's reactions are conveyed obliquely. In these works, Han relies heavily upon sound manipulations and tonal irregularities and uses relatively fewer allusions. Appendices include a Table of Schafer-Karlgren correspondences, rhymes, word-by-word English equivalents, and finding list for all poems mentioned in the text.

ISBN: 9798661767509Subjects--Topical Terms:

2122707
Asian literature.

THE POETRY OF HAN WO (844-923).
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520 $a This study presents, in Part I, a look at the poet's history and the critical reaction to his life and work, and in Part II, a detailed examination of 33 of his poems which are meant to be a representative sampling. In Part I, it is shown how the official biographical information on Han Wo fits precisely with the traditional critical opinions of Han Wo's life and work, and how the several attitudes of traditional critics of past and present are rarely based upon careful readings of the individual poems themselves and an examination of their language. The controversy over the authenticity of the Fragrance Vanity Collection and individual poems is often tied to traditional critical moral judgement of Han's character, although a few modern critics have emphasized textual examination. Part II is an examination of individual poems. Therefore, each poem is presented in Chinese graphs, and in a reconstruction of T'ang Chinese (Schafer's orthographic version of Karlgren's reconstruction), as well as an English rendition which attempts to preserve the imagery of the original. Each poem is followed by Notes on imagery, obscure terms, allusions, etc., and a Commentary on the sense of the poem and critical evaluation. Sub-divisions within Part II are not mean to force poems into neat topical categories, but to examine five topics and techniques favored by Han Wo. In Part II, Section A, the emphasis is upon Han's use of many phonetic features, including rhyme and rhyme-echoes, repeated words and phrases, assonances, etc. The reader is encouraged to take note of the sound of each poem as it is represented in reconstruction, and to look for phonetic emphasis whenever it occurs in the poems under examination in subsequent sections. In Section B, I suggest correspondences between the medieval Western courtly love-lyric and the conventional falling-flowers lu-shih of T'ang times. This comparison is offered chiefly to emphasize the role of the persona or speaker in Chinese poetry, and to explore the implications of a didactic reading of such poems: the reader responds to the one-sided, exaggerated complaints of the persona with a fuller, more complex understanding of the situation presented in the poem. These poems, which are sometimes considered merely trite imitations of a type begun in the early T'ang, may be presenting themes which the reader is expected to ponder carefully in order to answer the speaker's complaint. Of course, such poems must also be considered individually for artistic integrity. Sections C, D, and E, each contain poems grouped around a topic. These topics--poetry of the scholar-official, love poetry, and celebrations of the moment--are topics only in the sense that they allow for presentation of a certain persona or viewpoint. In fact, I am at pains to point out the range of tone, diction, and form in each section. The section on love poetry includes several tz'u, or songs. Section E discusses poetry in which descriptions of natural scenery and the setting of a mood are emphasized, while the speaker's reactions are conveyed obliquely. In these works, Han relies heavily upon sound manipulations and tonal irregularities and uses relatively fewer allusions. Appendices include a Table of Schafer-Karlgren correspondences, rhymes, word-by-word English equivalents, and finding list for all poems mentioned in the text.
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